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CLAIRE BERGERAULT :  voice

JEAN-LUC GUIONNET : organs

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Double Vinyl released in 2021 on the Label La Montagne Noire/GMEA

MUNE  - acoustic -

Since 2007, we have been working as a duo, organ/voice, in several church interiors. The challenge each time being first to adapt to the configuration of the architectural space and the organ, and then to stretch our music on the breach of this particular situation.

We have approached the melodic forms, when they arrive, in the manner of a “found song” in the same way as we talk about a found object.

 

- Where do we find them? 

- We find them at the crossroads of an extreme attention to the detail of the voice and to the singularity of the organ – it is such an unusual register, such an impossible chord, such a discordant key with such an orchestration. As if the tone, when one listens to it as closely as possible, induces a set of lines that one would have to draw.

- A development? 

- Yes. The tone functions as an envelope and the melodic lines act as the contents of the envelope, the trick is to find the right tool to open the right envelope.

So we find the melodic lines through trial and error, and it is the structure of the research that shapes the result.

Previously our music was concerned with an arbitrarily large abstraction. What we discovered during the performance opened us to a certain concreteness. It is something that one might want to touch with one's finger: rather simple forms, that are not sought after, but which appear. And that once they are in hand, we work with a kind of slight relentlessness... a determination that goes with big gaps of silence and long fullnesses, which are filled with suspense inside the harmonies. They take us perhaps even further away from the liturgical tradition that the voice and the organ carry with them. They take us away from it to make us enter more deeply into a ground whose roots would plunge into an unknown tradition, something half-dreamed, half-known, the kinds of sounds that are often evoked by the hurdy-gurdy, by fiddles and the sound of the dancing clogs.

But this wandering continues without a hitch, other than the anchor. Even if this time, we want to continue searching, or to attempt to capture these found melodies. To look as deeply as is possible for us at the suspense that we discovered that night.

Press : 

Lisa Tatcher 

Revue et Corrigé

MUNE  - électric -

While continuing our survey of organs and their architectures, we initiated in 2015 the electric version of the same process: where sacred spaces become disused factories, where the breath of the machine is metamorphosed into a flow of electrons, where the voice is transformed into resonance. It is then engulfed in the microphone and the connection to the machines before being spat-out by the loudspeakers – the singularity of the organs comes back to their respective pasts: some were found on-site and others brought in. We only use old electric organs, dented by use, polished by decibels, carrying all kinds of musical signatures, electric: from bal musette to soul. They have gone through a few years spent in the cellar, being used for all types of rehearsals imaginable - Bontempi, Farfisa, Hammond, etc. with one or two leslie cabins that the singer’s voice can also take over. We take all this equipment seriously. We give it back to its roots by (re)inventing it. We appropriate it as absolutely as possible, deporting our music to keep its abstraction. 

By giving the machine a voice, we go straight to its sound, and then we apply to this sound a precise acupuncture, made of contemporary musical strategies and old impulsions which stems from a folklore which is unknown to us, which goes up so well through tubes and cables, transistors, or trumpet-speakers, all in spite of us.

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